Sometimes, you get stuck with a bad boss. Someone who makes you work weekends…or who, like, clips their nails at their desk. Maybe you’ve thought about quitting, but you’ve probably (we hope) never gone to extremes like the guys from Horrible Bosses 2. In honor of them – and anyone who’s ever dealt with a bad boss – here are some of the most cringeworthy bosses in movies and television.
1. Miranda Priestly (Meryl Streep) in The Devil Wears Prada
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Miranda Priestly is probably the scariest kind of boss because she’s so calm about it all, even when she’s saying something completely soul-crushing.
2. Bobby Pellitt (Colin Farrell) in Horrible Bosses
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Ok so there are several awful bosses in this movie, hence the title, but we're singling out Bobby because he represents nepotism, incompetence and really bad combovers. He's also a raging cocaine addict. Bad, bad, bad.
3. Bill Lumbergh (Gary Cole) in Office Space
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Lumbergh is the epitome of the annoying boss. He makes his employees work weekends, he's a stickler for pointless TPS reports, and he says things like "I'm gonna need you to..." right before assigning you a mundane task.
4. Michael Scott (Steve Carell) in The Office
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We love Michael Scott, but man did he make us cringe. Whether he was telling an inappropriate joke or running down one of his employees with his car, he was simply not meant to be a boss.
5. David Brent (Ricky Gervais) in The Office (UK)
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David Brent had even less of a clue than Michael Scott, if that's possible. He thinks his workers look up to him as a mentor, but they really don't respect him at all.
6. Miranda Bailey (Chandra Wilson) in Grey’s Anatomy
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We’ve seen Bailey’s softer side, but remember when she was known only as “The Nazi”? She kept those interns in line!
7. Margaret Tate (Sandra Bullock) in The Proposal
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This Canadian boss lady forces her assistant to pretend he’s her fiancé in order to avoid deportation. Not only is that totally awkward, it’s an HR nightmare! Thankfully Ryan Reynolds was very accommodating.
8. Don Draper (Jon Hamm) in Mad Men
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Granted Don Draper is good at what he does, but he’s kind of the worst boss. Just ask Peggy – she’s seen his bad side on more than one occasion. He sleeps with his secretaries, drinks during the day and takes frequent naps on the couch in his office.
9. President Snow (Donald Sutherland) in The Hunger Games
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He’s the boss of an entire country and he’s completely evil. Definitely not a person you want in charge. He sends children to fight to the death basically for his own amusement.
10. Walter White (Bryan Cranston) in Breaking Bad
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He wasn’t so much a boss as he was a, well, kingpin, but he still had complete control over his “employee” Jesse Pinkman. All that manipulation really made us cringe!
11. Maria Laguerta (Lauren Velez) in Dexter
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Over the course of Dexter, the fiercely ambitious Laguerta went from Lieutenant to Captain of the Miami Metro Police Department and never failed to make Debra Morgan’s life a living hell.
12. Carter Duryea (Topher Grace) in In Good Company
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At 26, he became the boss at an established sports magazine and was forced to manage people with way more experience than him – namely Dennis Quaid’s Dan Foreman. He was all about promoting “synergy,” despite having little to no clue what that actually meant.
13. Ron Swanson (Nick Offerman) in Parks and Recreation
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Don’t get us wrong, we love everything about Ron Swanson - from his mustache to his deep and abiding love of red meat. But he works in city government and actively tries to make it less effective. Not exactly someone you want running things.
14. Jordan Belfort (Leonardo DiCaprio) in The Wolf of Wall Street
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Belfort represented Wall Street corruption at its worst. He ran his firm with no ethical standards, and when he was caught, he barely got any jail time! Most cringeworthy thing about this guy is that he actually existed!
Which on-screen boss makes YOU cringe? Let us know on Twitter!
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DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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FOX Broadcasting Co.
After getting dumped by Cliff (Glenn Howerton) on a technicality, Mindy is certain she will be exonerated like "Amanda Foxy Knoxy Knox." She has been faced with the mission of winning him back after getting caught at a party with her Pastor/DJ/Shoe Designer ex on last week's The Mindy Project. But as she gets ready to head home from Los Angeles, Danny (Chris Messina) who is arguably a more substantial and slow-burning love interest, needs Mindy for support meeting his estranged father (Dan Hedaya). Conflicted with the urge to stay or go, Mindy decides to return to New York to salvage her relationship with a guy who already dumped her.
Mindy instead gets stuck in the car with Danny headed to his dad's house, while Peter (Adam Pally) and Morgan (Ike Barinholtz) are trapped back at the practice under much different circumstances. Eager to leave work and rebound with a butterface, Party Boy Peter gives himself a bathroom mirror pep talk, saying "I hope you've got your life vest on, because we're about to go motorboating." After the bathroom door breaks, it's clear that Peter's motorboat options are now limited to Morgan, who is also trapped.
Missing her flight, Mindy still supports Danny and pushes him to visit with his Dad. They quickly meet Little Danny, Danny's half sister from his father's current marriage. As Danny realizes that the man he hates is now a good father, he handles it the manliest way possible: drinking and wandering in the desert. At this point Mindy has moved on, attempting to make her way to the airport and back into Cliff's heart. But Danny continues to test their bond, drunk dialing Mindy while lost, ultimately making her miss another flight.
More potential is revealed in the seemingly superficial relationship with Cliff, when Morgan and Peter hear him in his office while stuck in the bathroom. Sharing the same building, Morgan and Peter recognize Cliff's voice through the vent. Not knowing about the break up, they call for help before hearing Cliff launch into an epic session of cry-singing Jewel's "You Were Meant For Me." They decide they'd rather be trapped forever than acknowledge hearing that. Once freed they meet Cliff in the elevator, sporting a post-cry glow, and invite him out to a boys night. Party Boy Peter even cancels on a "Wisconsin nine" for the occasion, so it's pretty serious.
The more dire issue unfolding is Mindy reaching her breaking point with Danny. His unraveling over his father goes too far, and Mindy calls him out in a way that is harsh yet telling of a loving relationship. Danny and his dad finally have a heart to heart, that seems more informative than funny until we're reminded that Danny was once a skilled ballerina ("a primo ballerino"). The heart-to-hearts hardly stop there as Danny and Mindy finally find their way onto a plane home. They apologize and Danny helps Mindy draft a letter to win back Cliff. They seem to fall back into the platonic pattern they've settled into, until Mindy gets up for a tonic water. Possibly moved by literal turbulence, Danny seizes the moment and meets Mindy for a sexual tension breaking make-out session that will change the course of this Rom Sitcom. For those who've been following their relationship, the next new episode of The Mindy Project on April 1st can't come soon enough.
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Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
2/5
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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Olivier Douliery/PictureGroup
There was an interview recently on The Daily Show with Jon Stewart that did more damage to the GOP party than the entire shutdown. What happened? A Republican precinct chairman in North Carolina was interviewed on the show and said some really dumb, racist things. You could tell they were going to be in that vein when he said, "My best friend is black." Yup, that practically set up a neon sign. After the show aired, he then resigned his position.
Yes, I know it wasn't Ted Cruz doing something like that, but it did wind up being a bloody nose for the GOP, however small it may be. They probably don't even care, given that Congress has approval ratings lower than contracting ebola. Yes, I'm sure that many people would rather bleed from every orifice than trust politicians implicitly.
The thing is, when it comes to media, journalism has been king for many, many years. People would trust what was read in the newspapers and many news anchors were held in such high esteem that they might as well have been nominated for sainthood: Walter Cronkite, Tom Brokaw, Peter Jennings, Dan Rather, Diane Sawyer...the list goes on. But now the media is being viewed through a prism of mistrust. It seems like more people are listening to Stewart and Stephen Colbert on Comedy Central than someone like Piers Morgan on CNN or anybody on FOX News.
What helps Stewart and Colbert (well, Stewart more, since Colbert is a persona) is they can take an irreverent view on it that is still surrounded by truth and can expose the hypocrisy of what goes on in the government. Maybe the media got too high up on its pedestal and began thinking it could tell people what it wanted to behind its own agenda, even under the pretense of fair reporting. The Comedy Central duo tend to get under the hood and shine their light on what goes on there. Maybe they could call themselves "America's Auto Mechanics."
So maybe people should hope that Stewart gets many more politicians to appear on his show to show what they really stand for instead of having it sanitized on the news. Maybe in a couple of decades from now, we'll look at Stewart like we looked at the other anchors. And that's no laughing matter.
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CBS Films
Getting the likes of Robert De Niro, Morgan Freeman, Michael Douglas, and Kevin Kline in one film should be a recipe for a rousing success, and in many ways throughout Last Vegas, the casting is very successful. The main cast gives everything actors can really contribute to a film, and they excel as well as they can with what they're given. But the film shows that, at the end of the day, the script is king, and Last Vegas falters because its dreadfully weak writing hinders some fun performances.
Like another Vegas comedy, to which comparisons are unavoidable, the film centers around a bachelor party. Billy (Douglas) is trying to hold onto his youth with the grip of an iron vice. He's engaged to a much younger woman and decides that his wedding is the perfect time to rekindle his relationship with his three best friends, a group friendship that has frayed over the years. Archie (Freeman), Paddy (De Niro) and Sam (Kline) pack up to experience a weekend full of geriatric high jinks before Billy's wedding. Each of the four characters travels to Vegas with a certain amount of baggage stowed away in the carry-on compartment, and it's all related to aging, but the resolution to all of these character threads ends way too predictably. The first resolution to each of their stories that swirls around in your head while watching will undoubtedly be the one that pops up on screen before the credits roll.
One of the biggest sins Last Vegas makes is that it's just not all that funny, and the problem lies in the script. The film seems content with telling the same joke about old people over and over again, ad nauseam. It can barely mine humor from any other source besides the characters' advanced ages, pounding that theme into your head like a pulsing jackhammer. Jokes are fired at a machine gun pace, but so many of them fall ridiculously flat. Even when the cast is able to sell some of the feeble punchlines, they still aren't very clever or memorable. If anything, it makes it clear to see why these actors are as celebrated as they are. They all posses a serious amount of charm that bounces across the screen and makes the duds clank a little less loudly.
CBS Films
In fact, any enjoyment to be had from Last Vegas stems solely from the performances of the principal men, and sultry lounge singer Diana (Mary Steenburgen). All five actors possess a natural chemistry that carries the film's limp material around long after the script has forgotten how to be clever. They all have an excitable energy that permeates the rest of the film, but energy means little when they aren't saying anything particularly interesting. During the film, you're never quite bored or offended, but you're never excited either. It just chugs along in a miasma of general competence but not much else.
Last Vegas isn't quite dead on arrival but it's no a spring chicken either. Its high points ride on the backs of its stars' finely aged charisma, and much of the pleasing aspects that exist in Last Vegas would still be intact if the film just consisted of the actors sitting in a room, chewing the fat with each other without a script or direction. At the very least, they would have fewer stupid things to say. What happened in Vegas probably should have stayed there.
2/5
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CNN/YouTubePublished this week, Piers Morgan's latest diary, Shooting Straight, sees the former newspaper editor describe Kelsey Grammer as 'astonishingly rude' after the Frasier star walked out of his CNN interview before it had even begun in 2012. But Morgan isn't the only host who's unexpectedly found themselves with some airtime to fill. Here's a look at five other celebs who have stormed off the set of a chat show.Bee GeesThe legendary pop trio became increasingly irate as Clive Anderson repeatedly made fun of their original moniker, Les Tosseurs, during an appearance on his BBC show in 1997, before a gentle ribbing about their solo careers saw Barry and Robin quickly exit the stage, suggesting Maurice was the only Bee Gee with a sense of humour.Andrew Dice ClayThe foul-mouthed comedian lived up to his reputation in 2003 by launching into a profanity-laden tirade live on CNN when interviewer Alan Chernoff began to imply, quite understandably, that his career hadn't been firing on all cylinders of late.Robert PattinsonProof that it's often the publicists who are more difficult to deal with than the actual stars, Robert Pattinson was promptly whisked away from a radio interview with Ryan Seacrest in 2009 after the American Idol host asked a fairly innocuous question about his relationship with Twilight co-star Kristen Stewart.Paris HiltonThe celebrity heiress didn't take too kindly to ABC reporter Dan Harris' questions about her one-time BFF Kim Kardashian and the falling ratings of her Oxygen reality show in 2011. But her initial walk-out was slightly undermined when she then agreed to re-appear with a carefully stage-managed response about her career longevity.Tracey EminResponsible for possibly the most undignified walk-off, controversial artist Tracey Emin appeared to have taken advantage of the green room's facilities judging by her inebriated state on a televised debate about the Turner Prize in 1997 which saw her berate the other panellists, repeatedly swear as she tried to take her mic off and call for her mum before staggering off the stage.
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Showtime
Where we left off: Saul (Mandy Patinkin) threw Carrie (Claire Danes) under the bus and blamed the CIA's failures on her mental instabilities; Dana (Morgan Saylor) was released from therapy after she tried to kill herself; Quinn (Rupert Friend) accidentally killed a young boy; and Brody (Damian Lewis) is probably still hanging out in the Canadian woods. (Check out our recap of Homeland's season premiere if you need more of a refresher.)
"Uh… Oo… Aw…"In the second episode of season three of Homeland, Saul continues to track down those responsible for the Langley attack, Quinn struggles with the death of the young boy he shot, Dana and Jessica (Morena Baccarin) attempt to fix their family problems, and Carrie goes off the deep end (thanks to Saul and the CIA).
After a slow start to the third season (nothing very exciting happened in the premiere), the second episode had the perfect opportunity to bring back the intrigue and suspense that Homeland is known for. Instead, it fell flat... and was kind of prejudiced.
In an attempt to further the Langley investigation, Saul brings in analyst Fara Sherazi (Nazanin Boniadi) to trace bank statements that are connected to Iran. However, Fara shows up wearing a Hijab, which apparently the CIA and, more shockingly, Saul find disrespectful. Seeing as how the year is 2013, it seems a little ridiculous that the CIA would find offense in a woman wearing a piece of religious garb, which is her right. Within the span of two episodes, from pushing Carrie under the bus and verbally attacking a woman for wearing a Hijab, Saul has become one of the most unlikeable characters on the show (and that’s saying something, since Dana is still around). And as far as the plot goes, Fara is excellent at her job and was able to connect an American banker to people in the Iranian government – we'll see how this plotline progresses as the season goes on.
Unfortunately, Saul doesn’t stop there. He sticks the knife even deeper into Carrie's wound and orders that she have a psych evaluation, which, as we should expect for Carrie, does not go over well. (To be fair, the reason Saul had to do that to her was because she was going around trying to share CIA/government secrets to journalists, which is a pretty big no-no.) Carrie has reached a level of anger that is incredibly scary and off-putting. When she meets with the doctor, she says, "I'm beyond calm. I'm f**king Zen." And when Quinn comes to visit her, she screams at him and makes him leave. How are we supposed to get behind a character who yells at people in every scene? And how are we supposed to support Saul when he's lost all semblance of a moral high ground?
As for Dana and Jessica, there is finally a breakthrough in their relationship. After a highly ineffective trip to the therapist – where Jessica seemed to be more immature than Dana – and Dan' sexual escapade with her boyfriend in a mental ward (seriously, stop taking nude pics, Dana – don’t you know they end up on the Internet?), the feuding mother and daughter were able to have a therapeutic moment together. In one of the most authentic moments of the episode, Dana screams at her mom, "I am not crazy, and in case you're wondering, neither are you. Dad was crazy … he was a psycho who did nothing but lie from the minute he set foot in this house, and he ruined our lives. It's the truth." It is exactly what Jessica needed to hear, and hopefully this overdrawn Brody family mope-fest will be done with.
The fact that Dana and Jessica became the saviors in this episode is nothing good. Saul and Carrie are supposed to be the characters we look to every week, not the ones that make us want to change the channel.
Plot-hole in the episode:In the premiere it was publically admitted that Carrie had a relationship with the supposed bomber (Brody); why isn’t she locked up in an interrogation room and being questioned about her involvement with the bombing? I highly doubt that the U.S. government or the president would allow someone with those connections to roam freely.
Highlight of the episode:Saul's epic Carrie-directed quote is now a voiceover in the opening credits: "You’re the dumbest and smartest f**king person I’ve ever known."
More:'Homeland' Premiere Recap: Season 3 is Off to a Slow Start'Homeland: The Musical' Brings Out a Whole Other Side of the Showtime Drama'Homeland' Season 2 Finale Refresher, Because Most of Us Forgot What Happened
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